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Title : Jurassic World: Fallen Kingdom
Jurassic World: Fallen Kingdom genre : Action, Adventure, Science Fiction
Jurassic World: Fallen Kingdom crew : Steven Spielberg, Frank Marshall, Christopher Boyes, Gary Rydstrom, Michael Crichton, Stella Vaccaro, Phil Tippett, Michael Silvers, Dennie Thorpe, Jana Vance
Jurassic World: Fallen Kingdom release date : 27 October 19 1 1
Jurassic World: Fallen Kingdom runtime : 129 Minutes
Jurassic World: Fallen Kingdom Crew : Steven Spielberg, Frank Marshall, Christopher Boyes, Gary Rydstrom, Michael Crichton, Stella Vaccaro, Phil Tippett, Michael Silvers, Dennie Thorpe, Jana Vance
Jurassic World: Fallen Kingdom cast :
Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones, Ted Levine, Jeff Goldblum, BD Wong
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Three years after the demise of Jurassic World, a volcanic eruption threatens the remaining dinosaurs on the isla Nublar, so Claire Dearing, the former park manager, recruits Owen Grady to help prevent the extinction of the dinosaurs once again. Jurassic World: Fallen Kingdom 2018 review : I felt embarrassed to be watching this. It's an embarrassing fever dream. I abandoned it halfway through its runtime.
More dinosaurs, Opie’s hot daughter, Dracula’s castle and Indiana Jones

“Jurassic World: Fallen Kingdom” (2018) revolves around Claire (Bryce Dallas Howard) and Owen (Chris Pratt) leading a team back to Isla Nublar to save several species of dinosaurs after an active volcano threatens all life there. The plan is to relocate the dinosaurs to a new island sanctuary, but that’s not the way it works out.

My title blurb pretty much says it all for this fifth film in the franchise. I mention Indiana Jones because the movie has a “Raiders of the Lost Ark” (1981) vibe more so than the other movies. The reference to Dracula’s castle is due to the fact that the entire second half takes place at a cool, gothic chateau in Northern California and there’s a scene with a genetically-enhanced raptor acting like Dracula.

Curvy Bryce is just stunning throughout and easily blows away any other woman in the series. Meanwhile Pratt seriously upped his game as leading action hero (I wasn’t overly impressed with him in the previous film, although I didn’t dislike him either). At the end of the day I’d have to rank this installment as my favorite, followed by the original 1993 movie and 2015’s “Jurassic World.”

The film runs 2 hours, 8 minutes and was shot in Hawaii and England/Scotland.

GRADE: A-/B+
As a kid dinosaurs was one of my great interests. Thus I was so thrilled by the first Jurassic Park movie, which I thought then, and still think today, is a great movie. Sadly the following movies have been a mixed bag to say the least.

This movie falls in the “that was disappointing” category I am afraid. It is obviously that however wrote the story was a lazy bugger that simply rehashed old bits and standard Hollywood cheap concepts and then added some frustrating preaching to it.

The two scenes, one at the beginning and one in the end, where Ian Malcolm (Jeff Goldblum) was just sitting and ranting on and on was enough by itself to drag down the movie a star or two. We get it, however wrote that crap do not like gene science. Then go and write a piece in a science journal or something. Oh wait, it would not have been excepted since there was no science in it, just ranting mixed up with poorly hidden religious beliefs. So instead you had to go and ruin a movie which was meant to simply entertain.

The we have the rest of the story. The best, or should I say the kindest, word for describing it would be “predictable”. How many times are we going to do the big company captures animals for profit story? At least try to put some intelligence in the plot if you have to rehash it over and over again. It has even been done before in the same franchise for Christ sake!

I would lie if I did not say that I found, at least, some entertainment watching the movie though. But pretty much all of it came from watching the scenery and the special effects. They at least were pretty good. But then I do like big monsters stomping around wreaking havoc and eating people, especially when it is the bad guys.

There were some parts that was rather funny. I think Christ Pratt, and most of the other actors as well for that matter, did a fairly good job out of the lousy script. The idea of using a Stygimoloch to break free was quite cool and the havoc he wreaked somewhat funny. The part where Wheatley stop in the middle of all the chaos to extract a tooth as a bloody trophy was just silly though.

The end scenes was just frustrating. However wrote that ought to be shot. A few dinosaurs escape and then the conclusion is that humanity have to live side by side with dinosaurs from then one. What a load of rubbish!

Sadly, despite the genre being a favorite of mine and the special effects being pretty good, this film did not make it for me due to the unintelligent and lazy script.
A strong, **strong** opening that it never recovers* from.

(*"never recovers from" here meaning "never stops dissapointing afterwards".)

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
Cover Version 2

It was 1993 when Jurassic Park was unleashed upon the film loving public, spawning a blockbuster franchise and pop culture thunders in the process. Sadly we now find ourselves suffering cover versions of what was once a great and thought provoking premise with high octane thrills into the bargain.

I guess once they started personalising the Velociraptors, making one of them a friend of man, it was the beginning of the end. But we accepted it - sort of - jumping into 2015's Jurassic World with carefree abandon. More dino carnage we wanted, a bright cast fronted by the ever likable Chris Pratt and Bryce Howard drew us in, but it was merely ok, a franchise entry that was just a quick fix but nothing more. But of course box office talks and the franchise lumbers on to Jurassic World: Fallen Kingdom...

Plot returns to Isla Nublar which along with all the dinosaur inhabitants is about to be vanished from the planet by the mother of all volcanoes. Cue mankind jostling over whether to save a species that was once extinct whilst others have nefarious motives for financial gain.

Off we go then, stock characters that are over familiar are performed by different actors but go through motions we have witnessed before, whilst the writing strains for a sort of human empathy factor that never hits the mark. There is nothing remotely fresh (well Howard has at least changed her footwear to something more credible) or exciting on offer here, it's a tired cash cow that's in dire need of extinction itself.

Naturally another instalment will come along, and naturally it will make money, with myself and the other millions of Jurassic zombies filing in to view what we hope will be a return to the heady days back in 1993. But it's most likely a forlorn hope, so maybe, just maybe, it should be enough now, enough? 5/10
Brain hurt. Me no likey. Err...umm...ahem.

This is a movie that really stretches it as far as believability, logic, or even physics.

First, just a quick note: The trailer makes it seem like the movie spends its time on an island about to blow up. Less than half the movie is that. So, if you're looking for a long drawn out volcanic eruption, look elsewhere.

The heroes are annoying and dumb caricatures, from the techie who's afraid of everything to the wisecracking animal wrangler (in fairness, this is Chris Pratt's character from the previous film, but still). The villains are short-sighted, moustache-twirling dolts who never seem to remember to watch behind them, especially in dangerous scenarios. And why was Jeff Goldblum even in this movie? He serves no purpose to the story. None at all. He's there for them to say, "See! We have someone from the older movies, so it ties together." That's literally all he's there to do for his two minutes of screen time.

It's the same plot as every other Jurassic Park/World film. Let's create/genetically engineer dinosaurs. What could possibly go wrong? Even the supposed "plot twist" could be figured out from the very beginning of the film. Basic physics don't even apply, such as the impossible truck jump at one point. I swear I could feel my brain leaking out of my ears while watching this.

This film honestly makes me somewhat relieved that Colin Trevorrow got removed from Star Wars Episode IX. Unfortunately, the way this movie ends basically guarantees that there's going to be another one. Although it begs the question about what happened to Jurassic Park III since it ends in a similar way. Is that film even supposed to be canon anymore?

Just don't bother. Even if you love the dinosaur special effects of previous films, there's really not much here that you didn't see before, and some of it is actually pretty bad and unbelievable for a film from 2018. Just don't bother.

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Title : Adrift
Adrift genre : Thriller, Romance, Adventure
Adrift crew : Robert Richardson, John Gilbert, Ralph Winter, Gary Lucchesi, Glenn Freemantle, Glenn Freemantle, Stefan Sonnenfeld, Baltasar Kormákur, Baltasar Kormákur, Shailene Woodley
Adrift release date : 7 December 19 5 2
Adrift runtime : 96 Minutes
Adrift Crew : Robert Richardson, John Gilbert, Ralph Winter, Gary Lucchesi, Glenn Freemantle, Glenn Freemantle, Stefan Sonnenfeld, Baltasar Kormákur, Baltasar Kormákur, Shailene Woodley
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Title : Creed II
Creed II genre : Drama
Creed II crew : Mary Vernieu, Daisy Curbeon, Heather Loeffler, Daniel Bernhardt, Irwin Winkler, Barbara Munch, Ezra Dweck, Sylvester Stallone, Sylvester Stallone, Sylvester Stallone
Creed II release date : 12 November 19 3 6
Creed II runtime : 130 Minutes
Creed II Crew : Mary Vernieu, Daisy Curbeon, Heather Loeffler, Daniel Bernhardt, Irwin Winkler, Barbara Munch, Ezra Dweck, Sylvester Stallone, Sylvester Stallone, Sylvester Stallone
Creed II movie cast :
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Between personal obligations and training for his next big fight against an opponent with ties to his family's past, Adonis Creed is up against the challenge of his life. Creed II 2018 review : that's the movie I wanted to see badly for a long time I watched its first part that was too awesome and creed 2 is marvelous I had to do my college homework but I skipped that just to watch creed 2 the training part and the last fight I can't describe in words what I feels after watched.
**_Decent enough, but adheres far too rigidly to the_ Rocky _template_**

> _I have not met one person who didn't like a_ Rocky _movie._

- Steven Caple Jr.; "How _Creed II_ Director Crafted His _Rocky IV_ Successor" (Mia Galuppo); _The Hollywood Reporter_ (November 21, 2018)

Ryan Coogler's _Creed_ (2015) was probably the best of the remakequels (ostensible sequels that are, for all intents and purposes, remakes) that came out in the mid-2010s (the most obvious ones being J.J Abrams's _Star Wars: The Force Awakens_, Colin Trevorrow's _Jurassic World_, and Adam Wingard's _Blair Witch_), and was the first _Rocky_ film not written by Sylvester Stallone, and not directed by either Stallone or John G. Avildsen. After _Rocky Balboa_ did the seemingly impossible, redeeming and concluding the franchise after the damage done by _Rocky V_, _Creed_, written by Coogler and Aaron Covington, and directed by Coogler, did something even more unlikely – revitalising the franchise with Rocky himself as a supporting character. For the sequel, Stallone is back as a writer (sharing credit with Juel Taylor, from a story by Sascha Penn and Cheo Hodari Coker), with Steven Caple Jr. directing (Coogler is credited as an executive producer). Whereas _Creed_ was essentially a remake of the original _Rocky_, _Creed II_ is more of a combination of _Rocky III_ and _Rocky IV_, with some elements from _Rocky II_, and whilst it hits all the beats one expects from a _Rocky_ movie, the problem is that it hits them so slavishly, and does little else. It also, perhaps inevitably, suffers badly in comparison to its predecessor, especially in terms of direction – whereas Coogler's directorial work was assured, distinctive, and inventive, Caple Jr.'s is pedestrian and functional. Had it strayed from the formula just a tad, the way _Creed_ did, the way _Rocky Balboa_ did, it would have been a much better film instead of a bland rehash of something we've seen multiple times (and not just in this franchise, but in virtually every boxing movie). The kernel for a terrific film is there, but the execution is not, it features a litany of clichés, it's dull, repetitive, the antagonist's subplot is infinitely more compelling than the main plot, and the culminating fight is almost parodic in design.

In _Rocky IV_, former WBC Heavyweight Champion Apollo Creed (Carl Weathers) was killed in the ring during an exhibition bout against Ivan Drago (Dolph Lundgren). Determined to avenge the loss of his best friend, reigning champion Rocky Balboa (Sylvester Stallone) travelled to Moscow, where he not only defeated Drago, he also got the Soviet crowd on his side. 33 years later, Ivan's son, Viktor (the man-mountain that is Florian Munteanu), is training as a professional boxer in Ukraine, under the watchful eye of promoter Buddy Marcelle (Russell Hornsby). Meanwhile, in Philadelphia, three years after his professional debut against "Pretty" Ricky Conlan (Tony Bellew), Apollo's son, Adonis Creed (Michael B. Jordan), is preparing for a bout against the champion, Danny "Stuntman" Wheeler (Andre Ward). Upon winning the title, Adonis proposes to his girlfriend, Bianca Taylor (Tessa Thompson), who says yes. Life seems perfect. That is until Viktor and Ivan head to the US and issue a very public challenge to Adonis. Meanwhile, Ivan tells Rocky, who is in Adonis's corner, that the fight is a way to regain honour for the Drago name, explaining that after their bout 33 years ago, he lost everything, including his wife, Ludmilla (Brigitte Nielsen), who left him shortly after Viktor's birth. Spurred on by Marcelle, and seeing an opportunity to avenge his father's death, Adonis plans to take the fight, but is warned against doing so by Rocky. When Adonis insists, Rocky says he can no longer train him. Adonis and Bianca move to Los Angeles so she can pursue her singing career, moving into a luxury apartment near Apollo's widow, Mary Anne (Phylicia Rashād). To replace Rocky, Adonis recruits Tony "Little Duke" Evers (Wood Harris), Wheeler's former trainer, and son of Tony "Duke" Evers (Tony Burton), who trained both Apollo and Rocky in the past. Feeling betrayed by Rocky, and finding it difficult to adjust to the recent changes in his life, including the fact that Bianca is pregnant, Adonis's preparations for the bout are not what they should be, whilst Ivan makes sure to push Viktor as hard as he possibly can.

What's perhaps most surprising about _Creed II_ is that not only is it a sequel to _Creed_, it's also a sequel to one of the most ridiculous films of all time, and one which certainly didn't cry out for a continuation of the narrative, _Rocky IV_. _Creed_ recast the _Rocky_ template for a modern audience, setting it in a social-realist African-American _milieu_ and relegating Rocky to a supporting player. _Rocky IV_, by contrast, was the movie wherein the franchise abandoned all semblance of realism; the film in which Rocky himself, the working-class everyman, became a superhero (he even had a talking robot sidekick), travelling to the Soviet Union, defeating Communism, and winning the Cold War by preaching _glasnost_ to the Soviet people (two years before Ronald Reagan's "_tear down this wall_" speech). It's a movie so ridiculous that the poster quite literally tells you how it ends! It also features Sylvester Stallone all but sexually abusing Sergei Eisenstein's theories of montage. The first example of such (Rocky driving pensively into the night) is a montage of Rocky thinking about montages, and the second (Rocky training by cutting down trees and running atop mountains) is probably the most 80s thing to ever exist. The film is, in fact, so preposterous, far-fetched, and ludicrous that if you're unable to have fun watching it, you may as well just stop watching movies.

From an aesthetic point of view, _Creed II_ is largely unremarkable (there's certainly nothing as epic as the single-shot fight from the first film), but one aspect that did stand out is the sound. As the first film established, Bianca is losing her hearing, something which is manifested in the aural design of _Creed II_ several times. At the start of the film, for example, as Bianca walks through the backstage area prior to the title fight, the sound of the crowd is soft and distanced until she puts in her hearing aid. Later, when Creed is training in a swimming pool, Bianca and Mary Anne are talking at another location, with their conversation carrying over his scenes. However, every time he goes below the water, the sound of their voices dulls as if it were diegetic. When Adonis is knocked down during his bout with Viktor, all sound is pulled from the film, only returning when he locks eyes with Bianca in the crowd. Even Adonis's marriage proposal involves her hearing aid. This is all thematic, of course, insofar as they are worried their child may inherit her hereditary hearing loss.

Thematically, legacy is a huge issue in _Creed II_, particularly as it relates to fathers and sons – Apollo and Adonis, Ivan and Viktor, Duke and Little Duke. Rocky himself is something of a surrogate father to Adonis, and is estranged from his own son, Robert (Milo Ventimiglia, who played the role in _Rocky Balboa_), and a grandson he has never met. Whilst _Creed_ saw Adonis use boxing as a way to symbolically bond with a father he never knew, _Creed II_ is more concerned with the emotionally fraught terrain that can result when fathers try to live vicariously through their sons, and when sons must live with their father's failures. Everything Viktor does, for example, is an attempt to earn Ivan's approval, whilst Ivan sees Viktor as the only way to atone for what happened to him after losing to Rocky.

Indeed, the depiction of the Dragos in general is especially interesting, and is both one of the best aspects of the film, and simultaneously one of the most problematic. In _Rocky IV_, Ivan was a cartoon villain, a badly written, pseudo-xenophobic hyperbole of what some Americans seemed to think Soviets were like. He was barely one-dimensional. In _Creed II_, he's still relatively thin as a character, but Lundgren is given enough room to portray him as essentially broken, living on nothing but bitterness, resentment, and shame. When he meets up with Rocky in the latter's restaurant, promising, "_my son will break your boy_", he comes across as more pathetic than anything else, a million miles from the almost automaton-like warrior of three decades prior. When Ivan mentions their fight, Rocky tries to dismiss it, "_that's like a million years ago_." Ivan, however, replies, "_but just yesterday to me_." One gets the impression that from the moment of his loss he's been waiting for this, seeing his son as nothing more than the delivery method of his vengeance. Ivan has raised Viktor in pure hate, teaching him that the only thing that matters is winning, but you can see in every move that Viktor is far more concerned with earning his father's respect – winning as an end unto itself means relatively little to him. There's a lot of pathos in that, and both Lundgren and Munteanu act the hell out of the complex dynamic. Working with Stallone for the fifth time, Lundgren's understated and subtle performance is easily the best of his career, and the best in the film, with the quietness that spoke to lack of interiority in the previous film, here suggesting a deeply felt pain.

The training montages also do something very interesting in respect to Viktor. Showing him jogging through economically impoverished communities, stacking crates, lugging around bags of cement, and working with less than state-of-the-art equipment, the parallel is not to Ivan, who trained with hi-tech gizmos and gadgets in _Rocky IV_, but to Rocky's training in the original film. Indeed, whilst Adonis lives in a luxury apartment, Viktor and Ivan live in a dingy bedsit in Ukraine that recalls Rocky's original digs in Philadelphia.

The problem with all of this is that the Dragos' story is by far the most compelling one in the film. One should not come away from a film named _Creed II_ wishing there had been less Creed and more of the antagonists. Although Creed, Bianca, and Rocky all get a little character development, the most interesting story arc is that of Ivan. Set against the complex and fascinating Drago family drama, Creed and Bianca's story is pretty insipid, and is essentially a rehash of Rocky's relationship with Adrian (Talia Shire) in _Rocky II_. The most dramatic and heartfelt moments of the film involve Ivan and Viktor, and the long middle section where Creed falls into a depression seems to go on forever; the whole time we were watching him fall apart, I was yearning to get back to the Dragos.

And this feeds into the film's most egregious problems – its rigid adhesion to the _Rocky_ template, and the concomitant predictability. Chances are that everything you think might happen in _Creed II_ does, as the film makes no attempt whatsoever to be original. Aside from the Drago subplot, there is nothing here that we haven't seen before. Granted, the _Rocky_ franchise has always tended to wear its predictability like a badge of honour, and the core template does undoubtedly work. But even when a film adheres to that template, one shouldn't be able to predict each narrative beat with near perfect accuracy. Even _Rocky V_, as awful as it was, tried something new, culminating with a street fight rather than an in-ring bout. It didn't even remotely work, but the thinking behind it was admirable. Aside from two unexpected cameos, _Creed II_ never once caught me off-guard, doing nothing original, unexpected, or in any way daring. And because of that, for large portions of the runtime, particularly the middle section, the film is interminably boring.

Even the boxing itself is not especially well-done. The cinematography by Kramer Morgenthau (_Thor: The Dark World_; _Chef_; _Terminator Genisys_) is fine, but nothing special, and pales in comparison to Maryse Alberti's work in the first film. Similarly, Caple Jr.'s direction is efficient, but not in the same ballpark as Coogler's. Aside from Martin Scorsese's _Raging Bull_ (1980) and Michael Mann's _Ali_ (2001), both visually unique in their own ways, _Creed_ is arguably the most technically proficient boxing movie in terms of in-ring competition. _Creed II_, however, shoots all the fights very conventionally, holding a fairly uniform three-quarters distance from the actors, with Caple Jr.'s only trick seeming to be slow-motion, which he grossly over-uses. This has the effect of making the fights seem repetitive, even when the story being told by the fighting action is different (which isn't helped by the fact that Ivan tells Viktor to "break him" about 150 times).

While we're on the subject of the boxing itself, the culminating fight between Adonis and Viktor is beyond ridiculous, even for this franchise. The boxing in _Rocky_ films has never been even remotely realistic, with a laughable number of haymakers landing cleanly in every round of every fight, but _Creed II_ takes this almost to the point of parody. In the recent Deontay Wilder vs. Tyson Fury fight, the total power punches landed was 31-38 from 182-104 thrown (17%-36.5%), whilst overall punches was 71-84 from 430-327 (16.5%-25.7%). These numbers are a little below the heavyweight average (which is 15 punches per round), but they're not especially unusual. In one round towards the end of _Creed II_, I counted Creed landing 19 power punches to Drago's 12. That's just ridiculous, to the point where it completely takes you out of the film. There's also an unintentionally hilarious moment when Adonis is knocked down, and Little Duke, apparently auditioning as the worst corner man in boxing history, looks out to Bianca in the crowd and shrugs!

Insanely, even "Gonna Fly Now", that most fundamental aspect of all _Rocky_ movies (except the one it wasn't used in) is underwhelming; whereas the first film used it to carry the audience to the emotional highpoint, combining Ludwig Göransson's interpolation of Bill Conti's legendary score with the on-screen action and Rocky screaming, "_You're a Creed_" as a way to inspire Adonis off the canvas, _Creed II_ just kind of randomly drops it into the mix without a whole lot of justification or thematic relevance.

Although there are some laudable elements here, _Creed II_ is a disappointment in almost every way, from the dull and soulless domestic scenes to a _dénouement_ that goes beyond suspension-of-disbelief, with not a hint of unpredictability. By essentially deconstructing the _Rocky_ template, _Creed_ found its way to unexpected thematic depths, recasting the great-white-hope subtext into a narrative about a struggling black man, whilst also examining notions of masculinity in the 21st century, and having Rocky himself face his own mortality. _Creed II_ exists entirely on the surface. Sure, the _Rocky_ melodrama is there, the _Rocky_ fights are there, the Stallone one-liners are there, but with a narrative focused almost entirely on the less interesting characters, this has to go down as a missed opportunity. Apart from the Drago subplot, everything is by-the-numbers. Yes, we care about these characters, but that's primarily because of the previous films, and whereas _Creed_ forged a path very much its own, _Creed II_ returns us to the safety of the overly familiar.

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In Safe Hands release date : 20 May 19 5 0
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Seasoned musician Jackson Maine discovers — and falls in love with — struggling artist Ally. She has just about given up on her dream to make it big as a singer — until Jack coaxes her into the spotlight. But even as Ally's career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons. A Star Is Born 2018 review : It feels silly to even qualify this one. LADY GAGA. BRADLEY COOPER (who can sing and direct, apparently). You don’t even need to have any info about the plot to know that this a priority must-see.

But, in case you’re wondering, it’s also based on one of the most iconic (and beloved) movie musicals of the 20th century (it’s been re-made a bunch of times, but none was better than the Judy Garland-helmed version) and in addition to all the Gaga-Cooper creative brilliance, the screenplay is also co-written by Eric Roth, the Oscar-winning screenwriter who once compared life to a box of chocolates in Forest Gump (he modified the novel’s original — and far less quotable — line, “Being an idiot is no box of chocolates”)
Very interesting. As soon as I saw the trailer, I wanted to see it. I work in the professional cv services, and through the big traffic there is no time for going to the cinema, so I will wait for the film to appear in good quality on the Internet. But the trailer is exciting. Everything I love: romance, love and music!
Lady Gaga clearly is (and has been for a very long time) a fantastic singer, and has made massive strides as an actor as well, but I _really_ did not enjoy this.

Bradley Cooper has clearly been studying at the Jeff Bridges' School of Being Completely Fucking Incomprehensible for this one. Maybe he was just trying to lend some believebility to the idea that he and Sam Elliot were brothers, I don't know (If that is the case, it failed miserably). Which I mean, whatever, it's his movie, he do that character whichever way he wants, but I don't appreciate it myself. Honestly the only thing in this, the fourth iteration of _A Star Is Born_ that I **did** appreciate at all was the first 15 minutes and the last 15 minutes. I didn't love those segments by any stretch, but I liked them at least partly. Not so for what came in between.

I can definitely support _A Star is Born's_ two audio-related Oscars, and maybe, _maybe_ even see my way to understanding the Best Actress nomination for Gaga, but beyond that, I don't follow the logic at all.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
Lady Gaga clearly is (and has been for a very long time) a fantastic singer, and has made massive strides as an actor as well, but I **really** did not enjoy this.

Bradley Cooper has clearly been studying at the Jeff Bridges' School of Being Completely Fucking Incomprehensible for this one. Maybe he was just trying to lend some believebility to the idea that he and Sam Elliot were brothers, I don't know (If that is the case, it failed miserably). Which I mean, whatever, it's his movie, he do that character whichever way he wants, but I don't appreciate it myself. Honestly the only thing in this, the fourth iteration of _A Star Is Born_ that I **did** appreciate at all was the first 15 minutes and the last 15 minutes. I didn't love those segments by any stretch, but I liked them at least partly. Not so for what came in between.

I can definitely support _A Star is Born's_ two audio-related Oscars, and maybe, **maybe** even see my way to understanding the Best Actress nomination for Gaga, but beyond that, I don't follow the logic at all.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
_**A strong directorial debut**_

> _I always knew that I wanted to direct, but I also knew that I could only direct something that I had a point of view about, a story that I want to tell, something deep down. Some people said, why don't you direct a pilot or a commercial or something just so you could learn, and I thought that scares the hell out of me, because I don't even know where I would put the camera._

- Bradley Cooper; "The _Star Is Born_ Scene That Scared Bradley Cooper" (Krista Smith); _Vanity Fair_ (October 1, 2018)

_A Star is Born_ was met with a rapturous reception at its Venice Film Festival première earlier this year, and has since gone on to receive near universal critical acclaim (90% on Rotten Tomatoes at time of writing), with much speculation as to its staying-power come award season. And whilst I liked it, and found a great deal to admire, I didn't love it. At least I didn't love all of it.

The original _A Star is Born_ was made for Selznick International Pictures by William A. Wellman in 1937 and told the story of aspiring Hollywood actress Esther Blodgett (Janet Gaynor). Discovered and mentored by one-time star, but now fading alcoholic, Norman Maine (Fredric March), against all odds, Esther quickly becomes a huge success. When Maine proposes, she says yes, but only on the condition that he give up drinking. He agrees, and they elope and marry. As their careers continue to move along opposite trajectories, he secretly begins drinking again, and when she wins the Academy Award for Best Actress, he ruins her speech by drunkenly storming the stage, prompting a stay in a sanatorium. Upon his release, Esther determines to help him face his demons no matter the cost, leading to much emotional trauma and tragedy. Possibly based on the marriage of Barbara Stanwyck and Frank Fay, and the life and death of John Bowers, the storyline for the film was so similar to RKO's 1932 film _What Price Hollywood?_ that Selznick expected to be sued by RKO (although they weren't). _What Price_ was directed by George Cukor, and based on a story by Adela Rogers St. Johns inspired by the marriage of Colleen Moore and John McCormick, and the life and death of Tom Forman. Although both films were critical successes, _What Price_ was a box office flop, and _A Star is Born_ was a huge hit. It was first remade as a musical by (ironically) George Cukor in 1954, starring Judy Garland and James Mason, and with a virtually identical plot. A second remake followed in 1976, directed by Frank Pierson, which told the story of aspiring singer Esther Hoffman (Barbra Streisand) and fading alcoholic rock-star John Howard (Kris Kristofferson).

The latest version was originally set to be directed by Clint Eastwood back in 2011, starring Beyoncé Knowles and either Leonardo DiCaprio, Tom Cruise, or Will Smith. As the project languished in development hell following Beyoncé's pregnancy, Eastwood approached Esperanza Spalding and Bradley Cooper but the project never got going. By 2015, Eastwood had moved on, replaced by Cooper himself, who remained as leading actor (he would also co-produce and co-write, with Eric Roth and Will Fetters). In 2016, Cooper cast Stefani Germanotta (aka Lady Gaga), and the film began shooting the following year.

Sticking pretty close to the beats of the previous three versions, the film tells the story of Jackson Maine (Cooper), a fading drug-addicted and alcoholic country and western singer suffering from tinnitus and slowly going deaf, who is just about held together by his tour manager and elder brother, Bobby (Sam Elliott). After a show, Maine ducks into the first bar he finds, where he sees Ally Campana (Gaga) singing a sultry version of "La Vie en rose" (1946). Impressed by her talent, Maine goes backstage to meet her, and they spend the night talking, during which time she tells him of her dreams to be a professional singer/songwriter. Although he invites her to his next show, she has no intention of going, much to the chagrin of her father, Lorenzo (Andrew Dice Clay), a limo driver who is adamant he was a better singer than Sinatra. When Maine's driver arrives for her, she tells him she isn't going, but he refuses to leave without her, and she soon finds herself on Maine's private jet with backstage passes to the show. During his performance, he unexpectedly invites her on stage to sing one of her own songs, and the crowd eat it up. With her performance getting millions of views on YouTube, she joins Maine on tour, and they soon begin a romantic relationship. As Ally's popularity grows, she is approached by Rez (Rafi Gavron), a music producer who offers her a record deal. Maine and Ally are later married, but as Rez moves her away from her pseudo-unplugged origins towards a more manufactured style of pop, Maine begins to voice his disapproval, whilst increasingly indulging in drink and drugs.

To begin with what I disliked about the film. Firstly, the first half is markedly superior to the second, which, I think, comes down to pacing issues and editing rhythm. Whereas the first half really takes its time in setting up the characters and their relationship (it's nearly an hour before their first kiss), the second half often feels rushed, offering almost a highlight reel of events spread out over many months, without really giving any of them time to breathe.

Secondly, I had some problems with the character of Maine. As is the case with all previous versions of the story, although the woman is ostensibly the lead, the man's troubles are the focus of the narrative, with the template established in 1937 (or 1932) inviting the audience to pity the man more than admire the woman. But with Cooper writing, producing, directing and starring, this can come across as a little self-indulgent in ways which weren't an issue in previous versions. Look, for example, at the number of close-ups and shirtless scenes Maine has, with the film going to some lengths to ensure we never think really badly of him despite his, at times, utterly reprehensible behaviour. Additionally, Cooper's Maine is the least convincing and wantonly self-destructive drunk of any of the four _Star_ male leads, with only one scene where he genuinely seems to be completely hammered (although, to be fair, it's a cracking scene).

Another issue, and one which I totally recognise I'm in the minority regarding, is that I found Gaga's performance a mixed bag. I hated her work in _American Horror Story: Hotel_ (2015-2016), where I thought her sultry and seductive vampire was a mass of clichés and overacting, although critics and audiences seemed to really like her. She's a lot better here, but still nothing spectacular, essentially doing a Barbara Streisand impression (albeit a decent one). Additionally, her performance doesn't really go any way towards showing us why this young woman would want to be with an alcoholic twice her age (apart from the fact that he's good for her career). Gaga never lets us see her fall in love with him, despite the framework being right there in the script, but neither does she play the role in such a way as to suggest a cynical exploitation of Maine.

The gender politics are also (somewhat) troubling; firmly rooted in the 1937 (or 1932) original, Ally is controlled and manipulated by men from start to finish (primarily, Lorenzo, Maine, and Rez), and the entire story is predicated on the fact that she needs a man's help to enable her to make her breakthrough. In this sense, it might have been interesting to reverse the genders, and instead have the film tell the story of a fading, substance-abusing older woman mentoring a hungry up-and-coming young man. It would probably be automatically criticised by the type of men who downvote anything gender progressive, but it would have been an interesting modern spin on an old story.

To counter that suggestion, however, and move onto what I liked about the film, it could be argued that by effectively maintaining the themes of the previous iterations of the story (and, in relation to the 1976 version, actually returning to plot points which were ill-advisedly discarded), the film is simply embracing its histrionic Classical Hollywood genesis, unapologetically retelling a traditional story in much the same manner as it was originally conceived. And with that in mind, the film is undoubtedly both an effective melodrama and a Classic Hollywood escapist fantasy.

Which is not to say it tries nothing new, or never goes left when you expect it to go right. For example, the film also surprised me in relation to Ally's new style, as never once does it imply that this style is any less authentic than it was under Maine's tutelage, or that his is somehow more "truthful" than hers. After she has her hair dyed, Ally looks in a mirror and says, "_it doesn't even look like me_", and I fully expected this to be the beginning of an arc which satirised what the industry has cost her, pointing out that the only way she could make it as an artist was by abandoning the art that meant anything to her, in favour of something synthetic. But that doesn't happen. Her new style (which becomes closer and closer to the real Lady Gaga as the film goes along) is presented as simply different from Maine's, in the way that his would have been different from those who came before him. If anything, the film presents the whole thing as a fairly organic evolution, with a lyric of what appears to be Maine's best-known song telling us, "_maybe it's time to let the old ways die._"

Another aspect of the film which worked well is that there was genuine sexual chemistry between Cooper and Gaga. Sure, having a good script helps tremendously in this sense, but just because there is chemistry on the page, doesn't necessarily mean there'll be chemistry on the screen - think of the wet fish of a relationship that is Kit Harington and Emilia Clarke's romance on _Game of Thrones_ – I've seen more chemistry between relations (pun intended). And although I do have some issues with the performances, the element of sexual attraction is very much there for all to see. Also on the subject of acting, Sam Elliott and Andrew Dice Clay steal pretty much every scene they're in.

Copper's direction is also pretty impressive, giving the rock world _milieu_ a sense of lived-in verisimilitude – from the drugs, to the living out of limos and hotel rooms, to the whirlwind nature of it all, the film presents perhaps the most vibrantly realistic portrayal of the music industry since Cameron Crowe's _Almost Famous_ (2000). Visually, Cooper's direction is functional (more the laconic style of Clint Eastwood than the hyperkinetic style of Cooper's frequent collaborator, David O. Russell), never drawing attention to itself, and allowing instead the camera to be a fairly passive observer. For the most part, Cooper as director is invisible, which makes sense, given the nature of the story (the ominous nooses seen hanging above Maine on a billboard are a little over the top, however). He also avoids the type of clichés we usually see in this kind of story. For example, to suggest the increasing success of a character, a standard music film will undoubtedly feature either a single scene or a montage of hasty autograph signings, a scene or two of an increasingly rabid fanbase, and at least one, but usually more, chaotic press conferences. Cooper features none of these, relying instead on scenes which illustrate to us Ally's popularity in a more organic manner (for example, we know how successful she has become when she is asked to perform on _Saturday Night Live_).

Yes, Cooper's trying to make a gritty version of one of the most glitzy show-business narratives, which might strike one as an oxymoron, but, for the most part, he strikes a fine balance between over-the-top showbiz fantasy, populated by larger-than-life characters and cartoonish histrionics, and a more grounded and intimate romance imparting universal truths about the sacrifices one may have to make for the person one loves. To cite just one example of how well he handles this dichotomy, the scenes which introduce the two leads are as far as you can imagine from razzmatazz – Maine is shown alone in a green room popping pills before staggering onto stage, and Ally is shown in a toilet cubicle breaking up with her boyfriend over the phone. These two scenes set the tone nicely, and are a credit to Cooper's directorial choices.

All things considered, _A Star is Born_ is an impressive directorial debut, and is probably the best of the four versions of the story (it's certainly better than the 1937 and 1976 versions). Signalling the advent of Lady Gaga as a leading lady, the film also marks the arrival of an interesting new directorial voice. I didn't think it was as good as a lot of critics and fans have made it out to be, finding it a little too disposable at times, but I certainly enjoyed it, and I'm looking forward to whatever it is that Cooper does next.

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Fantastic Beasts: The Crimes of Grindelwald crew : Anna Pinnock, Colleen Atwood, James Newton Howard, James Newton Howard, Philippe Rousselot, John Bernard, Stuart Craig, J.K. Rowling, J.K. Rowling, Steve Kloves
Fantastic Beasts: The Crimes of Grindelwald release date : 15 November 19 8 1
Fantastic Beasts: The Crimes of Grindelwald runtime : 134 Minutes
Fantastic Beasts: The Crimes of Grindelwald Crew : Anna Pinnock, Colleen Atwood, James Newton Howard, James Newton Howard, Philippe Rousselot, John Bernard, Stuart Craig, J.K. Rowling, J.K. Rowling, Steve Kloves
Fantastic Beasts: The Crimes of Grindelwald cast :
Eddie Redmayne, Katherine Waterston, Alison Sudol, Johnny Depp, Jude Law, Dan Fogler, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim
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Gellert Grindelwald has escaped imprisonment and has begun gathering followers to his cause—elevating wizards above all non-magical beings. The only one capable of putting a stop to him is the wizard he once called his closest friend, Albus Dumbledore. However, Dumbledore will need to seek help from the wizard who had thwarted Grindelwald once before, his former student Newt Scamander, who agrees to help, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world. Fantastic Beasts: The Crimes of Grindelwald 2018 review : _By JD Phillips, geekr.org_

The Harry Potter movies are great but one of the main flaws of the original franchise was the struggle the films had condensing the lengthy novels into movies under three hours. Despite the Fantastic Beasts sequel not being based on a book, it still somehow feels like its stressing to condense a five hundred page book into a smaller narrative.


The movie runs from scenario to scenario so quickly that it’s hard to remember what all happened in its muddled story. That’s not to say the film is terrible at all, surprisingly. For a movie that has serious pacing problems throughout and has more interest in setting up sequels than it is at finding a memorable plot of its own, it’s actually very entertaining.


The returning cast members are all back and while none leave quite the impression they did before they’re all still entertaining in their own way. Newt is back but the movie doesn’t seem nearly as interested in him and his magical monsters than it is with all of the new elements. Redmayne is still terrific in the role, however, and makes the character much more interesting than the script does by itself.


Jacob and Tina are back as well though both of their stories are shelved for most of the film and completely forgotten in the final moments.


The biggest surprise though is that Queenie gets the best arc of any character in the movie. She was one of the more interesting characters in the original and while many of the twists in the film fall flat, the one involving her character was my favorite moment of the entire movie. I’m more excited to see her story resolved than I am most of the other elements.


It shouldn’t surprise anyone who has seen the trailers that the new characters kind of take over the film from the returning players. Jude Law and Johnny Depp’s Dumbledore and Grindelwald are what this film is more focused on than any other plot element.


Both veteran actors shine so much that the movie loses energy when they aren’t on screen. Law effortlessly settles into Dumbledore’s twinkly-eyed wise, yet manipulative schtick.


Depp also kills it as Grindelwald. In fact, it pains me to say this because of how much of an ass the actor is in real life, this is the most I’ve liked Depp as a performer since his first time playing Jack Sparrow. He avoids most of the oddball antics he’s been milking for so many years and delivers a subdued, terrifying performance as Grindelwald. He more than holds his own against Ralph Fiennes, which is saying something.


Other new players are a mixed bag. Zoe Kravitz’s Leta Lastrange is an interesting character but none of the others really stand out. Newt’s brother Theseus is a particularly big missed opportunity. The film never adequately explains what caused the rivalry between the two Scamanders and it all gets resolved before there’s a chance to go into it more. Claudia Kim’s Nagini may have caused a big stir when she was announced in one of the trailers but very little is actually done with her character. It feels more like a stunt than anything else.


The biggest stunt comes from the big reveal in the end featuring Ezra Miller’s Credence. There’s a huge twist that not only breaks established history but feels extremely forced. For one, the movie never really explains how Credence came back to life in the first place. It feels like Ezra Miller became a bigger commodity for DC since he is the Flash so now the franchise is committing more to him than initially intended. There was no hint at all in the first movie that he was secretly connected to existing characters in a big way, so it seems out of left field. Regardless, I love Ezra Miller and hope the twist gets him better material in the future.


The movie doesn’t feel much like a Fantastic Beasts franchise anymore but when it does focus on its titular magical creatures, it really shines. The design and concept of the creatures lead to some of the best visuals of the entire Harry Potter pantheon. In fact, it feels like a real shame that we can’t get a smaller franchise that is just about Newt’s magical zoological adventures. The quieter moments of the movies where Newt is just connecting with a magical animal on its own terms are truly beautiful. Unfortunately, these moments get overtaken by the larger story around them.


I feel like this franchise is straining to be two different franchises at the same time. It would almost make more sense to separate them into a smaller scale “Fantastic Beasts” franchise and a larger scale “Crimes of Grindelwald” franchise. This mishmash of different ideas is feeling a little too much like the Hobbit films.


Somehow though, despite all of the messiness of the movie’s screenplay, I still found myself entertained throughout. While it may never hit the heights of its legendary predecessors, this film easily proves that the Wizarding World still has lots of magic left. Maybe the executives at Warner Bros should consider other avenues like television or other films so that Newt’s film series doesn’t carry the weight of one of the most magical film series ever.


“Fantastic Beasts: Crimes of Grindelwald” may not rise to the levels one would hope for, it still proves itself to be worth your time, if even just for one viewing.


**7.0**
The first Fantastic Beasts movie was excellent. It was a bright and magical adventure. This one is going down another path and I cannot say that I was overly thrilled by that.

This movie is putting emphasis on political machinations, division between the wizards and the non-wizards, betrayals etc. etc. Take away the magic component and you really have a fairly regular racial-differences, humans are bad and all that, movie of the kind that Hollywood is all too eager to mass produce these days. Sure it is not as blunt, preachy and totally ridiculous as a lot of their creations but still … not the path I wanted these movies to take.

At least there are plenty of magic and beasts around in this movie to make the dark and, at times, boring story a bit more compelling. The magic and the beasts, i.e. the special effects, are really the most enjoyable part of this movie.

I was not too keen about Newt already in the first movie and he is not any better in this one. He is simply too nerdy and insecure for my taste. I prefer main protagonists that are more assertive and active. Having said that he is still a likable chap in general. Queenie is still annoying as hell though.

I was very positively surprised by Johnny Depp as Grindelwald though. I was not at all sure that his normal half crazy and comical acting style would make for a good main bad guy. However, he worked very well in the role.

The end is pretty much a big cliffhanger and not exactly on a good note. This is actually a fairly sad movie overall which is perhaps one reason that I, personally, did not feel overly impressed by it. That is not too say that it is not a good movie. It is just that is is not the kind of story I hoped for.
The first Fantastic Beasts movie was excellent. It was a bright and magical adventure. This one is going down another path and I cannot say that I was overly thrilled by that.

This movie is putting emphasis on political machinations, division between the wizards and the non-wizards, betrayals etc. etc. Take away the magic component and you really have a fairly regular racial-differences, humans are bad and all that, movie of the kind that Hollywood is all too eager to mass produce these days. Sure it is not as blunt, preachy and totally ridiculous as a lot of their creations but still … not the path I wanted these movies to take.

At least there are plenty of magic and beasts around in this movie to make the dark and, at times, boring story a bit more compelling. The magic and the beasts, i.e. the special effects, are really the most enjoyable part of this movie.

I was not too keen about Newt already in the first movie and he is not any better in this one. He is simply too nerdy and insecure for my taste. I prefer main protagonists that are more assertive and active. Having said that he is still a likable chap in general. Queenie is still annoying as hell though.

I was very positively surprised by Johnny Depp as Grindelwald though. I was not at all sure that his normal half crazy and comical acting style would make for a good main bad guy. However, he worked very well in the role.

The end is pretty much a big cliffhanger and not exactly on a good note. This is actually a fairly sad movie overall which is perhaps one reason that I, personally, did not feel overly impressed by it. That is not too say that it is not a good movie. It is just that is is not the kind of story I hoped for.
First of all, just like in the last movie the acting in this film is excellent but with a few exceptions. Eddie Redmayne was still excellent as Newt but I think he did a better job in the first film. Same thing with Dan Fogler who didn’t seem as funny but useless and could have just been written out of this film. But I did really like Jude Law as a young Dumbledore and Joshua Shea who plays young Newt. Joshua played younger Newt so well that he actually looked like a younger version of Eddie. Jude Law brought the same kind of attitude towards Dumbledore that we all know and love. The special effects and set designs still looked marvellous. The creatures special effects just like last time were great and looked like if we saw them in real life that’s what they would look like. The sets looked directly like they got taken directly out of a history book. Now with this film being a sequel, you would think they would fix the problems they had in the last film but for this one, they didn‘t. The main thing that bugged me was Johnny Depp. He didn’t do a good job of playing the main villain. It could be because of the writing or just because of his acting. Next is all of the subplots. I counted there are around four of them. But seeing how I couldn’t really figure out the main plot one of those subplots could have been the main plot. The last thing is the pacing in this film. Some scenes just seemed like the plot stopped for this one scene that could have just been taken out. The entire film felt really slow and only in the action scenes did it seem to pick up. At least the music was good. In the end, Fantastic Beasts: The Crimes of Grindelwald just seemed like a cash grab film. I give Fantastic Beasts: The Crimes of Grindelwald a 5.5/10.

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